Live Classical/ Jazz Concert Report (Essay)

L a s t N a m e , F i r s t N a m e

C o u r s e N u m b e r - S e c t i o n

D a t e

S A M P L E C O N C E R T R E P O R T N O . 1

I attended the University Symphony Orchestra's "An Evening of Handel, Schubert, and

Haydn" on Thursday, September 30, 2003 in the Daniel Recital Hall. The hall was much

more crowded than I expected. At the beginning of the concert, the orchestra was seated

on the stage; the men wore tuxedos, and the women wore black dresses or pants. The

concertmaster came out to tune the orchestra, and then the conductor made his entrance

and gave a brief description of the piece that was about to be played.

George Frideric Handel's Overture to Music for the Royal Fireworks was composed

during the Baroque era. It has a homophonic texture and its genre is a suite. There is a

wide variety of instruments (aerophones, chordophones, and membranophones) used in

this piece. Among the wind instruments (woodwinds and brass) heard were bassoon,

oboe, French horn, and trumpet. The strings played included the violin, viola, cello, and

double bass. Finally, the percussion instrument used for this piece was the timpani.

This movement is broken down into four sections by tempo: Adagio, Allegro, Lentement,

and Allegro. The Adagio section begins with a slow introduction at a mezzoforte

dynamic. This section is in a major key and set in quadruple meter. It has a wide range

and an ascending melody. There are brief cadences and the section grows in a crescendo.

The loudness and energy of this section holds the attention of the listener and creates a

proud and joyful mood. The Allegro section begins at a mezzopiano dynamic level, and is

in triple meter. This section is played in a major key, and is largely conjunct in

movement. The melody has an ascending shape as it moves in a crescendo. The fast

tempo of this section creates an exciting and energetic mood. The Lentement section has

a slow pace and is played in a minor key. It is homophonic and in duple meter. The

tempo creates a smooth and relaxing mood. This section features a decrescendo and is

conjunct with a relatively narrow range. Finally, the Allegro section is repeated.

Schubert's Symphony No. 8 in B minor was composed during the Romantic era. The

instruments heard include the trombone, flute, oboe, bassoon—members of the

aerophone family—as well as the violin, viola, cello, and double bass—all chordophones.

This piece has an overall homophonic texture. The genre is a symphony, which is divided

into two movements: Allegro moderato and Andante con moto. The Allegro moderato

follows sonata-allegro form. There are two themes presented, and the movement is in

triple meter in a minor key. It begins at a soft (piano) dynamic level and grows in a

crescendo. It is generally conjunct with a narrow range that eventually expands into a

wide range. The softness opening creates a dramatic atmosphere filled with emotion. This

movement illustrates a recapitulation—the restatement of themes, since the main two

themes recur throughout the piece.

Joseph Haydn's Symphony No. 94 in G major ("Surprise") was composed during the

Classical era. It is a symphony with a generally homophonic texture. This particular piece

is performed with a wide variety of instruments, which include aerophones (French horn,

bassoon, oboe, trumpet), chordophones (violin, viola, cello, double bass), and

membranophones (timpani). This symphony has four movements: Adagio cantabile-

Vivace assai, Andante, Menuette, and Finale. The first movement begins with a slow

introduction and then proceeds at an quick tempo (allegro). This movement has changing

dynamics; it begins piano, then rises to mezzopiano. The melodic shape is ascending, in a

crescendo. Its form is sonata-allegro, beginning in triple meter and then changing to

compound meter in the Allegro. There are two themes presented in this movement, both

with wide ranges. The many distinct cadences create an air of spontaneity, leaving the

listener unable to predict what will come next. This movement has a peaceful but exciting

mood. The Andante has a theme and variation form (A, A1, A2, A3, A4). It is in duple

meter and all variations are played in a major key except A2, which is heard in a minor

key. The movement has a wide range and is rather disjunct. The shape of the melodies

changes between ascending and descending, and the dynamics are also changing. It

begins piano then shifts to forte suddenly (the “surprise”). There are many variations of

the theme, and these are usually played pianissimo. The Minuet and Trio movement is

three-part, or ternary ( ABA ), and in triple meter. It has a dancelike melody, which

creates a happy, cheerful mood. This melody begins with a rather narrow range, then

expands to a wide range. There are fewer instruments played during the trio than the

minuet. The dynamics are mezzoforte, swelling in a crescendo. The Finale movement is

in duple meter and is played in a major key. It flows conjunctly with an ascending theme.

There are a few distinct cadences in this movement, and there is a frequent return of the

main themes. This movement is played in a very fast tempo, making the mood cheerful

and exciting.

I enjoyed the concert and was really surprised at how the organization and the

performance took place. As this was my first classical music concert, I was intrigued to

see how the concertmaster came out to prepare the orchestra and to see the conductor of

the first work play in Schubert's "Unfinished" Symphony. All in all, it was a very positive

experience.

INSTRUCTOR'S COMMENTS:

Accurate use of terms shows understanding of concepts

Considers many different elements of music (melody, meter, harmony, form,

dynamics, tempo, instrumentation); shows understanding that elements change as

a piece progresses

Narrative style makes clear which piece/movement is being discussed

Discussion of the entire concert, recognizing differences in styles

Some information about work from lecture/book/program notes included

Attempts to describe the music in his/her own terms, with genuine reaction